The White Stripes
Icky Thump
[Warner Bros.; 2007]
For all intents and purposes, the White Stripes appeared to be defunct in 2006, put on hiatus while Jack White gallivanted the globe with Midwestern pals the Raconteurs. The previous year’s Get Behind Me Satan, commercial success that it was, sounded in retrospect like a man frustrated with his duo’s limited options, fiddling with more keyboards and pedals than previous Stripes LPs. Coupled with White’s perceptible glee at the Raconteurs’ expanded sonic palette and shared frontman duties– not to mention the more diverse wardrobe options– some thought it unlikely he’d don the red and white again any time soon.
Icky Thump, then, is a bit of a resurrection: Reuniting with Meg gives Jack the opportunity to slip back into sister-lover character, get his weird clothes out of attic, and return to basement blues. After the straightforward radio-rock trappings of the Raconteurs, Icky Thump packs an unexpected freshness, even given its back-to-basics premise; had it come immediately after Satan, it could have seemed like a cynical, regressive gift to the core fanbase, but following Broken Boy Soldiers, it recaptures a sense of goofy fun and a caustic edge that the duo haven’t possessed since White Blood Cells launched them to the A-list. Recorded over what qualifies as a marathon session for the Stripes (a whole three weeks), Icky Thump re-assembles most of the scrap-heap elements that characterized the White Stripes’ pre-fame trilogy: grimy garage-blues, a left-field cover, bizarre spoken-word bits, and shameless Zeppelin and Dylan cues. The most obvious breaking development is White’s instrument sound– its tones are so aggressively tweaked that it’s hard to tell whether he’s playing a guitar that sounds like a keyboard or a keyboard being played like a guitar (prediction for the next White Stripes album gimmick: keytar).
The leadoff title track declares this territory nicely, alternating an overdriven, tortured organ with savage guitar jabs, and already proving a better integration of keys and frets than Satan’s marimba experiments. "I’m Slowly Turning Into You" blends Wurlitzer verses with fuzz-guitar choruses almost seamlessly; "St. Andrew (The Battle Is in the Air)" finds White facing off against bagpipes (yes, bagpipes) with chainsaw seizures; and on "Conquest", he trades shrieking Casio tones with a trumpeter.
Yet, Icky Thump also treats us to a band that once again seems comfortable with its broken-in sounds, from the reverb-thud hammer of "Little Cream Soda" and the British Invasion 12-bar of "300 MPH Torrential Outpour Blues" to the back-porch ditty of "Effect & Cause". Perennially dismissed, Meg White once again puts the lie to the theory that John Bonham like totally made Led Zeppelin bro, squeezing the most from her limited repertoire and unsteady tempo when locking in with Jack on classic Stripes-stomp breakdowns like the one in "You Don’t Know What Love Is (You Just Do As You’re Told)", where raw talent takes a backseat to chemistry. The duo’s effortless dynamic on "Bone Broke" dismisses the garage-rock trend starting to tiresomely re-bubble yet again amongst the indie dregs, showing that world tours haven’t taken them too far away from sweaty suburban Detroit house-parties.
But unlike most other 10th-time-around blues-rock revivalists, the Stripes don’t settle for endlessly rewriting "96 Tears", as the record’s two weirdest (and maybe best) cuts prove. "Conquest", with its theatrical vocal and faux-mariachi fanfares, teases a promising revved-up early Scott Walker direction until you realize that it’s a meticulous recreation of the Patti Page original. "Rag & Bone" with its spoken-word verses, is practically a thesis statement for a band that loves to write songs about itself, casting Jack and Meg as junk collectors with a way-creepy relationship, prone to amphetamine rambles and big, chunky rock choruses.
If there’s a complaint to be registered about Icky Thump, it’s that certain aspects of the Stripes’ early character appear to have been annexed off: The sweet pop of "You’re Pretty Good Lookin’ (For a Girl)" would probably be Raconteurs property nowadays, and White’s country dalliances (i.e. "Hotel Yorba") are totally absent. Revisiting old territory also carries with it the hazard of backward comparison, and the highest highs of Icky can’t quite reach the altitude of the band’s breakthrough singles, but some of that inadequacy is tempered by the group’s more robust sound– De Stijl now feels anorexic in a side-by-side taste-test. Whether it was remembering their own advice from "Little Room" or the freedom to write in another mode with the Raconteurs, White’s strategy worked its rejuvenating magic, allowing the Stripes to roll back the stone on Icky Thump.
Posted to Pitchfork by Rob Mitchum on June 18, 2007.